3 


CATALOGUE 


OF  THE 


CL 


1 

-J 


Entire  Collection  of  Paintings 


BELONGING  TO  THE 


Late  Mr.  A.  M.  COZZENS, 


To  be  sold  by  Auction, 


AT  THE 


Clinton  Hall  Art  Galleries  and  Book  Sale  Rooms 

JOHN  H.  AUSTEN,  Auctioneer, 

FRIDAY  EVENING,  MAY  22,  1868, 


Commencing  at  a  quarter  before  8  o’clock. 


o°' 

LEAVITT,  STREBEIGH  &  CO.  .  <l'" 


Clinton  Hall,  Astor  Place, 
NEW  YORK. 


THE  PAINTINGS 


Will  be  on  Exhibition 


Thursday  Morning,  May  14,  1868, 


AND 


FROM  THAT  DATE  TO  THE  TIME  OF  SALE, 


Day  and  Evening. 


NOTICE. 

A  sufficient  deposit  will  be  required  from  all  purchasers,  at  the  option  of 
the  Auctioneer.  It  shall  apply  to  all  goods  purchased  at  this  sale.  All  pur¬ 
chases  must  be  paid  for  within  twenty-four  hours  from  the  day  of  sale,  or  the 
deposit  will  be  forfeited  and  the  sale  annulled,  or  the  goods  resold  for  account 
of  purchaser,  at  the  option  of  the  Auctioneer. 

- •  - 


Please  preserve  this  Catalogue  for  your  use  at  the  Sale. 


Mr.  Cozzens  was  a  liberal  and  intelligent  patron  of  American  art,  and 
remarkable  for  good  taste,  and  for  that  genial  sympathy  with  artists,  which,  at 
the  time  he  began  to  interest  himself  in  art,  was  a  most  important  element  of 
art  encouragement.  His  opportunities,  accordingly,  for  procuring  representa¬ 
tive  works  of  our  school  were  of  the  best  kind.  Most  of  his  pictures  were 
procured  of  the  artists  who  painted  them  at  a  time  when  they  were  founding 
their  reputation,  and  working  with  that  degree  of  earnestness  which  is  charac¬ 
teristic  of  the  best  period  of  an  artistic  career.  Many  of  the  pictures  belong¬ 
ing  to  his  collection  might  be  cited  as  the  best  productions  of  their  painters. 
Such  an  opportunity  for  procuring  works  of  American  art,  valuable  in  connec¬ 
tion  with  its  history,  may  not  soon  occur  again,  for  their  is  no  representative 
collection  in  private  hands  equal  to  it. 


Baker  &  Godwin,  Printers,  Printing-House  Square,  New  York. 


CATALOGUE. 


I. 

KENSETT,  J.  F.  - 

Second  Beach  at  Newport — Sunset. 

6x12. 


/J& 


2. 

HAYS,  W.  J. 

Fruit— Basket  of  Strawberries.  6x8. 

A  good  piece  of  Still-life  painting.  This  little  picture  was  painted 
expressly  for  the  late  Mrs.  Cozzens.  Mr.  Hays  has  never  been 
known  as  a  painter  of  fruit,  but  ranks  among  the  very  first  animal 
painters  in  the  country. 


HUNTINGTON,  D. 


Sketch  from  Nature.  8  x  io. 


4- 


HUNTINGTON,  D 

Mercy’s  Dream.  6x8. 

The  first  thought  for  the  large  picture — one  of  his  most  noted  and 
popular  works.  The  large  picture  has  been  engraved  in  line  by 
Thomas  Oldham  Barlow,  London.  The  original  is  now  in  possession 
of  Marshall  O.  Roberts,  Esq. 


5- 

^  WOODVILLE,  RICHARD  CATON. 


The  Smokers.  (Bar-Room  Inte¬ 
rior.)  7x9. 

This  picture  was  painted  in  1841.  Was  sent  from  Baltimore  to 
the  Academy  of  Design  in  New  York,  and  was  purchased  from 
that  exhibition  by  Mr.  Cozzens.  It  was  the  first  picture  painted  by 
Mr.  Woodville.ever  seen  in  this  city.  This  artist,  who  died  young, 
would,  if  he  had  lived,  have  been  in  the  foremost  rank  ;  as  it  is,  his 
works  are  not  surpassed  by  any  of  the  American  school  in  the  best 
qualities  of  art  in  his  line.  The  head  in  this  work  is  a  fine  study  of 
character.  Woodville’s  works  are  scarce. 


6. 

GREENE,  E.  D.  E. 

The  Beggar  Girl.  25x30. 

A  picture  of  great  merit ;  fine  in  feeling. 


LANG,  LOUIS. 

Study. 


7- 

(Oval.) 


18x22. 


8. 


MOUNT,  W.  S. 

Hustling  Pennies. 


This  is  a  characteristic  specimen  of  the  best  period  of  Mount’s 
career.  He  painted  this  subject  on  a  larger  scale  for  Luman  Reed, 
whose  collection  formed  the  New  York  Gallery  of  the  Fine  Arts,  and 
now  in  the  Historical  Society  Building. 


TAIT,  A.  F. 


Young  Ruffed  Grouse. 


Characteristic  and  true. 


KEN  SETT,  J  F. 


xo. 


Almy’s  Pond,  Newport.  18x10. 

Mr.  Kensett  does  not  merely  imitate  or  emphasize  or  reflect 
nature,  he  interprets  her. 


LEUTZE,  E. 

The  Novice. 


An  unusually  fine  treatment  of  female  character  by  this  artist.  A 
beautiful  picture. 


LEUTZE,  E. 

The  Captive  Prince.  16x20. 

A  pleasing  Cabinet  Picture. 


NO  NAME. 


The  Trumpeters.  (Oval.) 

A  line  picture  by  a  pupil  of  Wouvermans. 


IOX  14. 


14- 

HICKS,  THOMAS 

Gate  at  Subiaco.  10x12. 

Principal  entrance  to  the  town.  Painted  at  Subiaco  during  the 
summer  of  1846.  An  excellent  study. 


KENSETT,  J.  F. 


Niagara  River,  Canada  Shore. 

25><35- 


The  effect  of  the  “Falls”  in  the  background,  the  rising  mist  and  the 
commotion  of  the  water,  are  charmingly  rendered.  The  Earl  of  Elles¬ 
mere  while  in  this  country  saw  this  picture  at  Mr.  Cozzens’  house, 
and  admired  it  so  much  that  he  ordered  a  duplicate. 


i6. 

HUNTINGTON,  D. 

Christiana  and  her  Children. 

IOX  I  I. 


Original  study  for  the  large  picture  in  the  Carey  Collection. 


17- 

SULLY,  THOMAS. 

Childhood.  20x24. 

No  painter  in  this  country  has  ever  enjoyed  more  permanent  social 
esteem  and  sympathy,  and  if  ever  there  was  a  man  especially  endowed 
to  delineate  the  human  countenance,  particularly  women  and  children, 
it  is  Thomas  Sully.  He  painted  Queen  Victoria. 


l8, 

CROPSEY,  J.  F. 

Bay  of  New  York.  (Castle  Garden 

in  the  foreground.)  10x16.  X 


When  Jenny  Lind  was  in  New  York  and  singing  at  Castle  Garden, 
she  was  so  well  pleased  with  this  picture  that  a  duplicate  was  painted 
for  her. 


NO  NAME. 


Glass  of  Wine. 


12x15. 


LEUTZE,  E. 


20. 


The  Scarlet  Letter.  (Hester  Prynne 
and  Little  Pearl.  — Hawthorne.) 
48  x6o. 


An  admirable  work,  fine  in  drawing  and  in  character.  The  artist 
says  :  "  Hester  Prynne  was  painted  as  soon  as  Mr.  Cozzens  sent  me 

the  book  just  published  to  Dusseldorf.  I  made  a  myth  of  it,  and  suc¬ 
ceeded  in  agreeably  surprising  both  him  and  Mr.  Hawthorne.” 


21. 


LEUTZE,  E. 

Interior.  (A  study.)  17x25. 

Evidently  from  the  place  itself.  Leutze’s  architectural  details  are 
always  prominent  features  in  his  pictures. 


22. 

KENSETT,  J.  F. 

Landscape — White  Mountains. 
7  x  1 A 


View  looking  south-east  from  the  Flume  House,  Franconia  Notch. 


STUART,  GILBERT. 


QfWa. 


Portrait  of  Dr.  Houghton,  of  Dub¬ 
lin.  25x30. 


No  portraits  better  preserve  their  tone  of  color  and  expression  than 
those  of  Stuart’s.  There  is  a  living,  fresh  reality  about  them,  and  “  no 
one  ever  surpassed  him  in  embodying,  if  we  may  so  speak,  the  tran¬ 
sient  apparition  of  the  soul.”  This  picture  was  formerly  the  property 
of  Mr.  Charles  Elliot,  who  obtained  it  direct  from  the  family  for  whom 
Mr.  Stuart  painted  it.  It  is  considered  one  of  the  finest  specimens  of 
this  artist. 


NO  NAME. 


The  Tambourine. 


8  x  10. 


A  fine  work  ;  beautifully  drawn  and  colored. 


25- 

CHURCH,  F.  E. 


The  Andes.  36x26. 


This  Picture  was  painted  expressly  for  Mr.  Cozzens,  shortly 
after  Mr.  Church  returned  from  South  America,  and  combines  all  the 
beauties  which  characterize  the  works  of  this  distinguished  artist. 


26. 


HICKS,  THOMAS. 


Edwin  Booth  as  lago.  22x32. 

“No,  he  must  die.” 

The  same  subject,  full  length,  was  regarded  at  the  time  of  its  exhi¬ 
bition  as  a  very  striking  and  successful  performance.  This  duplicate, 
from  the  large  picture,  was  painted  for  Mr.  Cozzens. 


//If! 


BOONEN,  A. 


27 


Prince  of  Orange,  1691.  13x16. 


28. 


BOONEN,  A. 


Princess  of  Orange,  1691.  13x16. 

Two  very  fine  cabinet  portraits.  Boonen  was  a  distinguished 
Dutch  painter,  born  in  1669,  died  in  1729,  and  considered  one  of  the 
ablest  of  his  day.  He  painted,  among  other  celebrities,  Peter  the 
Great,  of  Russia.  Two  very  gems  of  Portrait  Painting. 


29 


^  DURAND,  A.  B. 


The  Beeches — Sunset.  4.8x62. 

“  At  the  foot  of  yonder  beech.” — Gray. 


The  peculiar  fidelity  and  sentiment  of  nature  with  which  Mr. 
Durand  always  depicts  trees  is  eloquently  manifest  in  this  picture.  The 
whole  scenic  expression  is  harmonious,  tender  and  true.  One  of  Mr. 
Durand’s  best  pictures. 


3°- 


INMAN,  HENRY. 

Portrait  of  Bishop  Moore.  27  X34.. 

This  portrait  is  one  of  the  artist’s  master-pieces,  and  one  of  the 
glories  of  the  American  school  of  portraiture.  He  painted  Words¬ 
worth,  Macaulay,  and  other  distinguished  men,  shortly  after  painting 
this. 


31- 

JOHNSON.  EASTMAN 

Not  Enough  for  Two. 


19x21 


A  good  specimen  of  this  eminent  artist ;  fine  in  character  and 
color.  His  pictures  are  in  constant  demand  and  purchased  before  they 
leave  the  easel.  All  American  collectors  seek  and  prize  them. 


VEDDER,  E. 


The  Knight’s  Signature. 


8  x  10. 


A  fine  work  of  an  artist  whose  reputation  is  constantly  increasing. 


33- 

gray,  HENRY  PETERS. 

Greek  Lovers.  4.0  x  55- 

This  picture  was  painted  in  1 846,  being  Mr.  Gray’s  first  effort  after 
his  return  from  a  second  visit  to  Europe.  Mr.  Cozzens  was  so  well 
pleased  with  it  while  in  progress  that  he  became  the  purchaser.  Mr.  Coz¬ 
zens  was  not  disappointed  in  the  picture,  and  he  always  considered  it 
one  if  not  the  best  of  the  examples  of  this  artist.  It  was  the  means 
of  introducing  Mr.  Gray  immediately  to  the  public,  and  the  foundation 
of  his  reputation. 


34- 


DOUGHTY,  THOMAS. 

Near  Paris.  16x22. 


A  very  fine  picture  ;  unsurpassed  by  any  American  landscape.  The 
works  of  this  painter  have  not  received  the  attention  or  credit  they 
deserve.  A  series  of  pictures  in  American  landscape  would  be  incom¬ 
plete  without  one  of  his  works. 


35- 

HUNTINGTON,  D. 


Shepherd  Boy  of  the  Roman  Cam- 
pagna.  25x30. 


One  of  his  best  works  in  his  early  style.  Painted  in  1 849  ;  in  color 
remarkably  fine— a  most  excellent  specimen.  In  the  course  of  time  the 
early  figure  subjects  of  the  American  school  of  art  will  be  more  highly 
prized  than  at  present. 


36- 

HUNTINGTON,  D 

At  the  Shrine.  25x30. 

Painted  in  1849,  as  a  companion  to  the  Shepherd  Boy.  The 
Campagna  of  Rome  and  the  Alban  Hills  form  the  background.  Ex¬ 
presses  true  devotional  feeling. 


BOUGHTON,  G.  H. 


37- 


Sans  Souci.  (Match  Boy.)  9x12. 

A  fine  sketch.  Mr.  Boughton  is  established  in  London  and  much 
esteemed  there  and  at  home.  His  pictures  are  well  known  and  much 
sought  after. 


/0O 


38- 

LEUTZE,  E. 

Contemplating 

32x39. 


the  Setting 


This  picture  gained  for  the  artist,  besides  general  praise,  the  per¬ 
manent  friendship  of  the  late  Edward  L.  Carey,  of  Philadelphia,  whose 
kind  interest  manifested  itself  until  his  death,  and  through  whose  influ¬ 
ence  the  artist  received  an  amount  of  commissions  sufficient  to  justify 
his  embarkation  for  Europe. 


LEUTZE,  E. 


39 


From  nature,  and  very  good. 


LANG,  LOUIS. 


40. 


Interior,  1856.  16x20. 


Beatrice  Cenci  in  Prison.  13x9. 


Study  for  a  larger  picture. 


KENSETT,  J  F. 


<J  2s) 


Mount  Washington,  from  the  Valley 
of  North  Conway,  N.  H.,  1851. 
14X20. 


A  study,  and  characteristic  of  his  style. 


42 


KENSETT,  J.  F. 


Massachusetts  Coast.  13x20. 


A  scene  on  the  Beverly  Shore,  remarkable  for  its  wooded  beauty. 
A  favorite  resort  for  Bostonians. 


+3- 

PINE,  R.  E. 

Portrait  of  David  Garrick.  20x24.. 

This  picture  was  taken  from  life.  It  was  formerly  the  property  of 
the  late  Joseph  Tyler,  of  the  Park  Theatre,  and  afterward  of  Philip 
Hone.  It  has  been  attested  as  an  original  and  excellent  likeness  by 
actors  and  artists  who  have  seen  or  performed  with  Garrick.  A 
pamphlet  was  written  and  published  on  this  portrait  by  Mr.  Gulian  C. 
Verplanck. 


COLE,  T. 


44- 


Catskill  Creek  at  Sunset.  26x36. 


i 


One  of  the  gems  of  American  Art,  and  the  Artist’s  Master-piece. 
Too  much  cannot  be  said  in  praise  of  this  picture. 

“  Wonderful  for  the  moisture  and  clarity  of  its  deep  heaven,  and  the 
vitality  of  its  atmosphere.” — (Noble’s  Pictures  of  Cole.) 


KENSETT,  J.  F 


Newport  Harbor. 


/ 


A  very  fine  specimen  of  his  ability  ;  one  of  his  best  works.  The 
rocky  cliff  on  the  right  is  particularly  fine. 


4.6. 

KENSETT,  J.  F. 

“Bateman’s,”  near  Newport. 


Kensett’s  Coast  Scenes  are  very  popular,  and  always  coveted  ex¬ 
amples  of  his  ability. 


LEUTZE,  E. 


Child  and  Dog.  29x36. 

Portrait  of  Mr.  Leutze’s  Son  now  with  Admiral  Farragut  in  the 
American  Navy. 


48. 

LESLIE,  CHARLES  ROBERT. 

Juliet.  11x13. 

This  exquisite  picture  was  painted  expressly  for  Mr.  Cozzens. 
Leslie  is  acknowledged  by  all  to  be  the  best  and  most  characteris¬ 
tic  delineator  of  Shakespearian  character  that  ever  lived,  and  it  is 
enough  to  say  of  this  picture  that  it  has  all  the  beauty  of  expression 
and  color  of  a  Leslie.  One  of  his  pictures  was  sold  in  this  city  with 
the  Wolfe  collection,  sent  to  London,  and  after  Leslie’s  death  is  said  to 
have  been  disposed  of  for  a  thousand  guineas. 


BROWN,  J.  G. 


“Allegro  ana  Penseroso.”  His  first 
Cigar.  9x14. 


In  genre  subjects  of  a  more  humble  and  especially  those  of  a  juve¬ 
nile  and  sportive  kind,  J.  G.  Brown,  a  young  artist  of  great  promise, 
has  produced  several  favorite  delineations.  His  pictures  are  well  known 
and  much  admired. 


50- 

giass,  JAMES  W. 

A  Family  Party.  25x30. 

The  picture  of  the  Duke  of  Wellington  on  horseback,  by  this 
artist,  was  declared  by  many  to  be  the  best  portrait  of  the  Duke  ever 
taken  ;  it  was  exhibited  with  great  success  and  finally  purchased  by  the 
Earl  of  Ellesmere. 


51- 

HICKS,  THOMAS. 

Fountain  ot  Elveto.  13x16. 


In  the  Abruzzi  Mountains,  Italy.  Painted  in  Rome  in  1847.  One 
of  the  prizes  distributed  by  the  American  Art  Union  of  that  year. 


52. 

KENSETT,  J.  F. 

Mountain  Goree, 


48  x6o. 


When  one  of  Kensett’s  Landscapes  was  recently  exhibited  in  Bel¬ 
gium,  its  strong,  clear  and  true  traits  formed  so  marked  a  contrast  to 
the  more  vague  and  artificial  landscapes  around  that  it  became  the 
centre  of  attraction:  the  best  critics  awarded  it  the  palm,  and  a  score 
of  eager  Amateurs  beset  our  Minister  at  Brussels,  to  whom  the  picture 
belonged,  with  their  praises  and  orders. 


DOUGHTY,  T. 


Landscape.  8x15. 

A  very  fine  sketch  by  this  artist. 


BECKER,  CARL. 


5+ 


Winding  the  Clock.  36x27. 

A  very  fine  work,  painted  in  1865.  The  works  of  this  artist  were 
conspicuous  in  the  Paris  Exposition,  and  much  admired.  His  pictures 
are  in  great  demand,  and  bring  great  prices. 


ROSSITER,  T.  P. 


The  Confidants.  10x13. 


Some  of  Mr.  Rossiter’s  pictures  were  exhibited  in  the  Paris  Expo¬ 
sition  of  1855,  when  he  obtained  a  Gold  Medal. 


LEUTZE,  E. 

Columbus  before  Ferdinand  and  Is- 


This  picture  was  painted  in  Munich,  Bavaria,  in  1843,  and  is  one 
of  Leutze’s  very  best  works.  For  variety  of  character,  refinement, 
true  sentiment  and  concentration  of  interest,  unequaled  by  any  of  his 
works.  The  composition  is  full  of  interest :  Columbus  is  an  earnest 
and  dignified  figure ;  the  King,  Oueen,  and  attendants,  serious  and  at¬ 
tentive  ;  the  light  and  shade  is  well  managed  ;  the  accessories,  including 
the  costumes  and  architecture,  are  carefully  studied  and  beautifully 
painted — all  showing  that  repose  in  the  treatment  of  such  a  subject 
which  denotes  a  masterly  hand. 


CROPSEY,  J.  F. 


“  Besides  a  remarkable  tact  and  truth  in  color,  and  a  true  sense 
of  the  picturesque,  a  moral  interest  was  frequently  imparted  to  Mr. 


Cropsey’s  pictures  by  their  historical  or  allegorical  significance,  in  which 
as  in  other  respects  he  reminded  his  countrymen  of  Cole.” — Tucker- 
man. 


58- 

homer,  WINSLOW. 

Spring-Time. 


His  picture  of  “  Prisoners  to  the  Front,”  an  incident  in  the  late 
War,  was  much  admired  in  the  Paris  Exposition. 


59- 

KENSETT,  J.  F. 


A  Secluded  Brook. 


14X  17. 


The  subdued  tone  of  the  atmosphere  and  foliage  in  this  picture  is 
tender  and  true. 


COLE,  T. 


Campagna  di  Roma.  27  x  36.  / 

“  The  Campagna  di  Roma,  with  its  broad  masses  of  shadow  divi¬ 
ding  the  sunshine  that  bathes  the  solitary  plain  strown  with  ruins,  its 
glorious  mountains  in  the  distance,  and  its  silence  made  visible  to  the 
eye,  is  one  of  those  pictures  of  Cole  which  we  most  value,  and  most 
affectionately  admire.” — Bryant. 


LANG,  LOUIS. 


e 


The  Little  Mischief. 


A  very  successful  work. 


LEUTZE,  E. 


The  Puritan  and  his  Daughter. 

32  x  38. 

The  Iconoclast  or  Image  Breaker  is  justly  considered  one  of  Leutze’s 
best  and  most  popular  works.  Leutze  is  remarkable  for  portraying  en¬ 
ergetic  figures,  and  this  fully  shows  his  powers  in  this  direction.  En¬ 
graved  in  line  by  Alfred  Jones,  for  the  American  Art  Union. 


63- 


HICKS,  THOMAS. 


Street  Scene  in  Subiaco,  Italy. 

14x15. 


A  fine  sketch  from  Nature.  Painted  in  the  Summer  of  1846. 


64. 

HUNTINGTON,  D. 

The  Sacred  Lesson.  37x42. 


A  very  good  work.  Painted  in  Florence  in  1845.  A  young 
woman  listening  devoutly  to  the  instruction  of  a  bearded  sage,  who  is 
explaining  the  Crucifixion  from  an  illuminated  volume.  Exhibited  at 
the  British  Institution,  London. 


EDMONDS,  F.  W. 


Sunday  Evening — Reading  the  Bible. 

XOX  12. 


One  of  Mr.  Edmonds’  best  studies  of  character.  The  figure  asleep 
in  his  chair  is  one  of  the  best  studies  of  humorous  character  he  made. 


WEIR,  R.  W. 


The  Microscope. 


30x40. 


An  old  philosopher  showing  the  microscope  to  two  boys.  This 
picture  was  painted  for  Mr.  Cozzens,  and  has  always  been  regarded  as 
a  very  successful  performance. 


07. 

WHITTREDGE,  W. 


Berkeley’s  Seat,  Newport.  18x30. 


This  picture  was  much  admired  at  the  Paris  Exposition.  “  Con¬ 
scientiously  devoted  to  his  art,  for  manly  fidelity  to  the  simple  verities 
of  nature  no  one  of  our  painters  is  more  consistently  distinguished 
than  Worthington  Whittredge.” — Tuckerman. 


KENSETT,  J.  F. 


68. 


Lake  George.  24  x  36- 

A  very  fine  example.  “  The  most  unaggressive  and  loved  of  the 
leaders  of  the  American  school  of  painting  has  at  length  produced  a 
picture  of  size  sufficient  to  call  forth  his  best  strength,  and  to  confirm 
his  position  as  one  of  the  three  foremost  men  of  the  Landscape  Art.” 


4 


j- 


KENSETT,  J.  F. 


Sunset  on  the  Coast  of  Maine.  10x14. 


70, 


LANG,  LOUIS. 


The  Young  Poetess.  16x20. 


This  painting  was  ordered  by  Mr.  Cozzens  but  a  few  months  be¬ 
fore  his  decease. 


71 


LANG,  LOUIS. 


Margaret  going  to  Church.  9x12. 


LEUTZE,  E. 


72. 


The  Amber  Necklace. 


3 1  x37* 


Portrait  of  Leutze’s  child  and  its  nurse.  The  head  of  the  child 
remarkably  fine  in  color  and  in  action. 


COLE,  T. 


Mountain  Brook,  Autumn.  14x17. 

Still  another  fine  example  of  Cole’s  power.  Admired  for  its  vivid¬ 
ness  and  truthfulness  of  color.  The  crimson,  gold  and  purple  of  an 
Autumnal  sunset,  conspire  to  make  it  one  of  the  finest  simple  land¬ 
scapes  to  be  found. 


74- 

INMAN,  HENRY. 


<2 


H ackett  as  R ip  Van  W inkle.  25x30. 

Inman  painted  but  few  pictures  of  this  class,  and  this  is  an  excel¬ 
lent  specimen  of  it. 


75 


OLD  PICTURE. 


Esther  belore  Ahasuerus.  4.4.x  26. 


KAUFFMAN,  H, 


Afl). 


Landscape — Winter.  25x30. 

As  a  representation  of  a  snow-storm,  this  picture  is  unsurpassed. 


20X24 


Spaniels.  25x30. 

A  good  Copy. 


79- 

Coat  of  Mail.  Milan,  1500. 

Height  of  Figure,  6  ft.  Height  of  Pedestal,  2  ft.  4  ins. 

This  Armor,  an  original  Coat  of  Mail  and  hne  Milanese  work,, 
was  bought  by  Mr.  Haight  in  Italy,  some  25  years  since;  supposed 
to  have  been  worn  by  one  of  the  Colonna  family,  so  celebrated  in  the 
person  of  Vittoria  Colonna,  famous  for  the  devotion  and  honor  with 
which  she  was  regarded  by  Michael  Angelo.  Mr.  Lang  purchased  it 
for  Mr.  Cozzens  at  Mr.  Haight’s  sale.  The  Armor  is  complete, 
beautifully  engraved,  and  in  fine  order. 


BRONZES. 


80 


CARRIER,  A. 


Rembrandt. 


8 1 . 


CARRIER,  A. 


Moliere. 


o  0* 


Height  of  Figure,  24  ins;''  Height  of  Pedestal,  36  ins. 

Two  superb  Bronzes ;  sitting  posture  and  mounted  on  richly  orna¬ 
mented  Black  Walnut  Pedestals. 


The  Blunter. 


Height,  22  inches. 


One  of  the  prizes  distributed  by  the  American  Art  Union. 


The  Fisher  Girl. 


Height,  1 5  inches.  By  Pradier. 


84.. 

“Flying  Mercury.” 

Height,  with  Marble  stand,  21  inches. 


85- 


Two  Bronzes. 


Pair  Busts  on  stands. 


86. 


One  Bronze. 


Arc  d’Etoile  in  Paris. 


A  Drawing-Room  Easel  in  Ebony. 


